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TEMPLE OF SWITCHES

Crossover Prog • United States


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Temple Of Switches biography
Since their inception in 2012, TEMPLE OF SWITCHES has been knocking down the boundaries of who they are musically, and each release has been a foray into new territory.

To sum up their sound, it is dark, contemplative, dissonant, melancholy, heavy, sarcastic, and unrestrained. We strive to make our studio recordings edgy and each release stretches further into darker corners of the musical landscape. It is for the most part meant to please the smaller audience that has become tired of the banal and cliche.

The music does not easily fit into any category, but the common thread that runs through all their compositions is the subtle use of jazz and classical influence, and particularly the use of odd harmonics and dissonant chords. The primary focus of the music is on instrumental pieces, and the texture and color of the sounds, how the sounds and notes work together across the instruments, much like painting a picture. The compositions that do have lyrics are most often abstract, and usually employ sarcasm and lament. Since 2016 TEMPLE OF SWITCHES has been a studio band, and the music is primarily written and produced by Tenk VAN DOOL, with an occasional collaboration.

Their last live gig as a band was September of 2014.

Starting with the 2017 release HELIUM PARADE, the musicians on these recordings have been a revolving door of sorts, some of the original band members have stepped in and out, and respected musicians from outside the band have been employed as well.

In 2020 Drummer David WHITE from the band RATTLEFACE, which features guitar virtuoso Ron SACHS, took the drum throne for the WINGS OF MIND album which won us featured artist of the month for December 2020 on Progrock.com, and David is drumming on the fourth album as well.

Involved musicians to date (Jan 2022):

Jay Heffner - drums (2012-2014)
Joe Monda - bass (2012-2014)
Kevin Robertson - bass (2013-2014)
Akuda - keyboards and vocals (2012- present)
Tenk Van Dool - guitar, keyboards, bass, vocals, drum programming (2012-present)
Craig Camp - drums (2017)
Clara Hembree - vocals (2017-2020)
Gaetano Nicolosi - drums (2017-2020)
Dale Wiser - bass (2020-2021)
David White - drums (2020- present)
Jim Chavez - vocals (2020-2021)
Amanda Lehmann (guest vocalist 2021)


Biography provided by the artist and used with permission


TEMPLE OF SWITCHES Videos (YouTube and more)


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TEMPLE OF SWITCHES discography


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TEMPLE OF SWITCHES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.80 | 11 ratings
Temple of Switches
2015
3.07 | 9 ratings
Helium Parade
2017
3.12 | 7 ratings
The Wings of Mind
2020
3.53 | 19 ratings
Four
2022

TEMPLE OF SWITCHES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TEMPLE OF SWITCHES Videos (DVD, Blu-ray, VHS etc)

TEMPLE OF SWITCHES Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TEMPLE OF SWITCHES Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 1 ratings
Llamada a San Cristobal (Chepo's Song)
2021

TEMPLE OF SWITCHES Reviews


Showing last 10 reviews only
 Four by TEMPLE OF SWITCHES album cover Studio Album, 2022
3.53 | 19 ratings

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Four
Temple Of Switches Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars More than 10 years have passed now since the conception of Temple of Switches, a band whose music is actually new to me, and I am glad my ears found it. I know they have released four studio albums so far, being 'Four' their newest and the one I am reviewing.

What this band led by mastermind Tenk Van Dool offer is a great mixture of prog, jazz, rock and even a bit of electronic music. It can be heard in the first track, entitled 'Welcome', which is an adventurous opening that take us through a diversity of sounds and emotions. 'Your Fly is Down' has vocals for the first time, and we can appreciate that besides being great musicians, they add a kind of humoristic sound to their already interesting music, which is great. I love the raw bass sound here and all those small but constant changes they dare to make in a short 3-minute track. There are moments where guitar take over, then keyboards say "I'm in charge", and then all gather together to continue the journey as a whole.

'The Wind' has the beautiful addition of Amanda Lehman in vocals, her charming style is wonderfully complemented first by some soft bass lines and then by addictive piano notes that add more textures. The drums are great, David White actually does a great job during the whole album, with some figures and sounds that can be better appreciated while listening with good headphones. This might be one of my favorite songs from this album.

A short mid-eastern trip can be found with 'Pareidolia', a low tempo track that one can enjoy while listening with eyes closed. It is trippy indeed, spacey atmospheres created by synths while bass and percussion guide us. It is striking how the songs sound really different from one to another, but for some reason, we can perceive the essence of Temple of Switches, instead of thinking there is a different band every 4 minutes. So yeah, a completely different sound appears in the amazing 'Dale's Neglected Song', which is quite an adventure: fast and skilled drums (it's his song, I think), bass, guitar and keyboards joining that vertiginous journey and giving the listener a rush of adrenaline and prog rock. Awesome!

'Human Zoo' is a nice track that has a let's say more traditional sound, I mean, it does not has the changes in time and mood than the previous tracks, it has more a soft rock sound, which is not bad at all, but to my ears, not the most attractive track of the album in spite of its more adventurous final minute. Important to say it also has nice male vocals, though. Next is 'Llamada a San Cristobal (Chepos Song), which has an interesting blend of jazz and ambient music. I love the fretless bass here, the gently sound of the guitar and the diversity of atmospheres created by keyboards.

The longest track is 'The Unfurling' whose 10 minutes display the creativity that lives inside Van Dool's mind, and that fortunately can be put into paper and then, into music. It is a good example of what a progressive rock song is, ambitious, challenging, great, and in moments even unpredictable. I love its different changes in time and mood, and the always accurate addition of keyboards.

'Freeway' is the one closer to rock and roll, you can feel its power and energy, taking elements from 70s and 80s bands without a doubt. It is catchy and you might even get ready for a small rockin' dance. 'Go Champion' continues with the rock feeling, however here is a bit heavier, like a combination of Black Sabbath and T. Rex, so as you can imagine, the 70s essence is present here.

The album finishes with 'Lemongrass and Thyme' which has a melancholic essence, even a lullaby-like and tender sound. So Temple of Switches gave us those constant changes during the whole album, most of them capable of surprising and involving us. And yeah, just like any album, I have my favorites and a couple tracks whose spark didn't hit me. Anyways, it is great to know so talented low-profile people creating music, so I am happy to write about it a little bit and put my grain of sand.

Enjoy it!

 Four by TEMPLE OF SWITCHES album cover Studio Album, 2022
3.53 | 19 ratings

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Four
Temple Of Switches Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars 2022 saw the band return with their fourth album, and yet again it saw some changing of the guard with just two mainstays this time in Tenk Van Dool (bass, guitar, keyboards, vocals) and David White (drums) again being joined by guests which a returning Dale Wiser providing bass on one song, Akuda (who I think was previously known as Kevin McConnell) back providing vocals on one song, with Jim Chavez returning to do the same with Amanda Lehmann also providing vocals on one. This is the first time since the debut that there has been another musician apart from Tenk play on every song, while everyone apart from Amanda had been involved in at least one other album, with Akuda and Jim now being on three.

With David and Tenk working together on every aspect of the album, this has much less of a split personality than the previous one, yet although there has been a tempering of some of the more avant garde moments which could be found particularly on their second, this still does not have the more singular approach which we had with their debut. It is definitely far more rounded in its approach, with "Pareidolia" a fine example of how music can be delivered when the percussionist and melodic lead are fully in sync. Dale may no longer be a full member of the band, but the way he interacts with David and Tenk on "Dale's Neglected Song", which appears to be built around a drum solo, is simply wonderful. I really enjoyed the interaction between the three of them on the previous release and was actually expecting an album from the trio this time around, and this instrumental demonstrates just what a powerful entity they are when in full flight. True, Tenk is providing guitar and keyboards here, but it is the closest we get to a band really pushing hard.

"Human Zoo" is far more reflective, but while that is not uncommon, there are quite a few rockier numbers, and it is interesting to hear how the band keep reinventing themselves with each release. It is not possible to know in advance what a Temple of Switches album is going to be like, nor who is going to play a part and how big that is going to be apart from Tenk Van Dool as here is a band who keep reinventing themselves and their music each time, and all power to them for doing that. Personally, my favourite is the debut, but all three have merits and are a band that progheads should be investigating.

 The Wings of Mind by TEMPLE OF SWITCHES album cover Studio Album, 2020
3.12 | 7 ratings

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The Wings of Mind
Temple Of Switches Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars I get the impression, rightly or wrongly, that this 2020 album initially started in one direction and then changes happened in personnel which resulted in it becoming a mix of two quite different sets of styles and sounds. Mike had also now changed his name, so anyone just looking at the line-ups would have been ever more confused. Mike is now Tenk Van Dool (guitar, keyboards, bass (2,3,7,9), drums (3,7,9), vocals & lyrics (1,6,9)) and Temple of Switches have become a band again with the addition of Dale Wiser (bass (1,4,5,6,8), vocals (4)) and drummer David White (1,4,5,6,8) ? notice how these last two are on the same five songs? Singer Clara Hembree, who was involved with the last album, sings on one song, drummer Gaetano Nicolosi returns to play on one, previous singer Kevin McConnell provides keyboards and vocals on two songs, but none of those are the ones featuring Dale and David, while singer Jim Chavez is on two of the ones that do. It feels like we have two different bands recording half the album each, with Tenk being the only consistent player.

This comes through in much of the music as well, with the band of Tenk, Dale and David often much heavier (although "Don't Cry to Me" would stylistically fit better with the "other" band), which means that the third album is very much an amalgam of the first two. Which one is preferred is down to the listener and their own personal preference, but I found it was when they most came across like the debut that I enjoyed this most. Tenk is a phenomenal rock guitarist, and when he allows himself to really go is when the band comes alive, driven by his consistent riffing and dynamic solos. That being said, I enjoyed Clara's vocals on the last album and "Back Seat" is a total delight, even if it is totally different to what it follows.

It is unusual to find a band switching personnel and styles so much within a single album, and while this does lead to some different consistency and provide some difficulty for the listener this is yet again another strong release which is worth checking out.

 Helium Parade by TEMPLE OF SWITCHES album cover Studio Album, 2017
3.07 | 9 ratings

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Helium Parade
Temple Of Switches Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars Just two years after the debut and the band were back with their second album, but there had already been major changes in that this is now a solo project by Mike Monda (guitar, guitar synth, bass, fretless bass, drum programming, keyboards, vocals), who was assisted by singer Clara Hembree on two tracks, each of which also features a different drummer. This is a far more varied album than the debut, and there has been a considerable change in approach so in some ways it is somewhat surprising that Mike decided to keep working under the same name, as anyone buying the debut and then picking up this one would be in for quite a shock as this is far more in the art rock style than the much heavier first one.

One of the most interesting songs on this set is "Carousel" where Clara provides lead vocals and drums are by Gaetano Nicolosi as there is considerable depth on this and the use of a strong female singer who throws her voice in different directions is a real benefit. However, this is an album which rewards repeated listening, and while it is very different indeed from the debut, in many ways there is more depth as Mike takes the opportunity to bring in many different elements as he refuses to sit within any particular genre and instead is out to expand through preconceived boundaries. This does mean that when first played, this album can seem somewhat confusing as it is so all over the place, even moving into the avant garde and experimental at times which is quite a contrast to the more melodic stylings, but when played a few times this does make far more sense.

So, quite a departure from the debut, which made me wonder what the next one would bring?

 Temple of Switches by TEMPLE OF SWITCHES album cover Studio Album, 2015
3.80 | 11 ratings

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Temple of Switches
Temple Of Switches Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Formed in 2012, this American progressive rock band say their music does not fit within any particular category, and that this is quite deliberate, although they bring in jazz and classical sounds so perhaps it is not surprising they have been included on ProgArchives as crossover, although in fairness this is more about the fact they are blending multiple genres as opposed to following the crossover style per se. Based on their 2015 debut, I am somewhat surprised they were not grabbed by Neo, while there is also a case for Heavy to have taken them, but perhaps this is indeed the correct genre as there is just so much going on. Back then, they were a quartet, with Mike Monda (guitar), Joe Monda (bass), Kevin McConnell (keyboards, vocals) and Jay Heffner (drums) and what strikes one immediately is just how much every musician is putting into the mix. It really does not matter who one concentrates on, there is a great deal happening, yet it never sounds over the top but rather that everyone is providing complexity and complicated threads but somehow, they come together and do not overpower the listener.

This is one of those albums which is immediate, and there is a very high rock element, yet the more it is listened to the more there is to get out of it. Everyone is adding wonderful touches and elements which make it stand out, as it took me a long time to think who they reminded me of, but "The Positive Side, Part 2" is strongly reminiscent of Salem Hill in their 'The Robbery of Murder' days, which may well be why I enjoy this so much as surely that is one of the finest American prog albums of all time. There is very much an American feel to this release, which is probably why it would not have been taken by Neo, and they often fall into melodic hard rock, while vocally Kevin is superb, and we even get some lovely rising screams at times. This is a great debut and am somewhat surprised it appears to have been missed by many (including me until now to be fair), and is certainly worthy of investigation who enjoy their prog to mix it up and come at it from a melodic hard rock area.

 Four by TEMPLE OF SWITCHES album cover Studio Album, 2022
3.53 | 19 ratings

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Four
Temple Of Switches Crossover Prog

Review by Rivertree
Special Collaborator Honorary Collaborator / Band Submissions

4 stars Another multi-varianted 2022 album, some fresh produce coming in from Tenk Van Dool. Okay, plus a few friends in music, needless to say, everything covered under the moniker TEMPLE OF SWITCHES again. A mixed bag, 'Four' appears rich on impressions, surprises, turns, edges. Hereby offering a real crossover of music styles, a great mix of atmospheric moody things and heavier occasions, also equipped with a touch of weirdness on top of it. And so, sooner or later, one is practically urged to find out more about the individual pieces of music. Very useful then, if you will have the accompanying PDF file at hand that is offering the particular lyrics, as well as some rather enlightening comments offered by the mastermind himself.

There is another regular contributor to consider here, not to forget. I mean drummer David White of course, who already has produced music with Tenk Van Dool in the past in one way or another. He intensively was involved in the songwriting process too. The songs are made of new material, but this is also drawing on inspirations, even recorded portions from the past in the same way. Now please, let's say welcome to the album due to the eponymously named short instrumental track that already evolves with an unpredictable flow. Showcasing the lovely Amanda Lehmann contributing the vocals for The Wind this appears in a proper Cary Grace mood, I would say. Fretless bass and nice organ are properly underlaying this charming matter. Paredolia then joins nearly in the same mood with a strong ambient, psychedelic and indo/raga feel.

To whom it may concern ... Dale's Neglected Song finally has reached for a renewal. A bit Rush infected this is culled from former recordings back in the late Eighties, when Tenk Van Dool, David White, and Dale Wiser (bass) intensively worked together. Towards the end it also shows some impressions from the original extended drum solo. Quite a lot of instruments are used for the suite The Unfurling. This may be acclaimed as the album's masterpiece by many. Certainly a challenge, especially from the compositorial point of view. This album offers an entertaining song collection. During more than 50 minutes playing time there's plenty to discover, that's guaranteed.

 Four by TEMPLE OF SWITCHES album cover Studio Album, 2022
3.53 | 19 ratings

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Four
Temple Of Switches Crossover Prog

Review by alainPP

4 stars TEMPLE OF SWITCHES debuted in 2012 breaking down musical barriers by delivering dark, contemplative, dissonant, unrestrained, variegated alternative rock; brief avant-garde where jazzy and melancholy touches are added; founded by Tenk VAN DOOL and helped by drummer David WHITE of the group RATTLEFACE, they released this 4th opus with bluffing atonal sounds which must be ignored at the start. A progressive cinematic album where the eccentric is in order, where the classic mixes with the pure progressive of the 70's.

'Welcome' as an instrumental preamble title, rock with latent electronic components, its own from the start reminiscent of the Focus. 'Your Fly is Down' vocal Nick Cave or Rik Ocasek or David Bowie, electro new wave a tad offbeat, bucolic and psychedelic synth variation, strange, the bass prints a strong base. 'The Wind' operates a 180° musical shift with a clean air, Amanda Lehmann flirting with her borderline voice Marianne Faithfull; vibrant and subdued atmosphere on a spleen of sirens, the majestic organ adding a layer, sublime. 'Pareidolia' delves even further with this Arabicizing, eclectic and psychedelic Dead Can Dance instrumental; a bit of the Doors vibe in a trance with this monolithic reverb. Captivating and hypnotic, clear and filled with wisdom. 'Dale's Neglected Song' on a drum solo starting on a psychedelic The Cure; a bit of Focus, a master drumstick-drummed vintage rhythm by David for a trip down memory lane. 'Human Zoo' spins 90 degrees and goes to Crimsonian lands all to a high voice that amplifies instrumental dramatic grandeur; a title that surprises in a singular register with a final Genesis or Hackettian solo, it's up to you to see.

'Llamada a San Cristobal (Chepo's song)' on a Yessian declination for the bass and Genesis for the keyboards, the latent side and the flute, a beautiful bucolic Canterburyan instrumental exercise before moving on to 'the Unfurling' for the piece, thundering moment with delicate primary breaks, variegated tempo flirting on jazz with piano and its dark Crimsonian debauchery; uncompromising art rock with back and forth from the 70s to the recent 90s, an inexplicable title, surely one of the most beautiful progressive pieces of the decade with a contemplative final decrescendo. 'Freeway' denotes, heavy rock title of the 70's on the line of Blue Oyster Cult, always with a dissonant voice. 'Go Champion' drives the nail, the first Alice Cooper or T-Rex, on the glam in fact. 'Lemongrass and Thyme' for the finale on a singular bucolic variation, a mixture of Leonard Cohen, Johnny Cash for the phrasing; it's still confusing, intimate and melancholy yet enjoyable and vibrant; necessary to rest his ears from this uncompromising musical niche.

A bucolic album with mud, light rain, showers of petals, an eclectic album mixing various genres, simmered to get out of quirky and crazy retro prog but full of sensitivity, spleen, new musical sense. TEMPLE OF SWITCHES just did that dexterously; an album to listen to differently.

 Four by TEMPLE OF SWITCHES album cover Studio Album, 2022
3.53 | 19 ratings

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Four
Temple Of Switches Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars Along comes the opportunity to chart new musical discoveries, accepting to listen intently and review something completely unfamiliar, when asked nicely by an artist looking for some much-needed exposure. Tenk Van Dool is a fine Dutch name but works out of the USA, as a mainly a two-man show, as Tenk skillfully handles a rather superb and reptilian bass, as well adorning powerful keyboards, guitars and vocals, while drummer David White completes the roster. The music is punchy, crisp, somber, thoughtful, brash and rebellious. This is their fourth album and quite the revelation I must say, as anything led by a nasty bass is often cause for some intense celebration. What also strikes me upon my initial go through, is that the material is quite original in that no apparent or overt influence jumps to the fore, occasionally heavy, suddenly jazzy, often dissonant, never boring or trite, constantly adventurous.

The album kicks off with brash guitars, electro keys and a solid drumbeat, until a ferocious bass furrow shoves it into overdrive, phosphorescent sparks flying, smoke billowing on the water, gently floating over the waves, before returning to the sonic madness. You are welcome, indeed. This leads next into another pile driver, the sardonic "Your Fly is Down", as both bass and guitars bruise the senses, insistent keys and marshaling drums complete the onslaught! A slick jazzy upturn catapults this into another realm, very catchy and way too short! More please? On "The Wind", a wobbly bass intro introduces the amazing voice of Amanda Lehmann (whose recent solo album was a definite ear-opener), a reflective yet quirky piece of melodramatic progressive rock, painted with strokes of gusty dissonance and breezy atmospherics, and a chorus that veers towards neo-gothic bombast. Very tasty indeed.

The tablas driven atmospherics on "Pareidolia" evoke images of 'Taj Mahalian' proportions, the bass carving a slow- paced space-rock ride that hanker back to Gong, Ozrics and company. Incense and curry, contemplation, and karma. Again, a very cool instrumental with loads of synths and effects. And now, for something completely different, a reworked and upgraded drum solo, Tenk quivers away on the electric guitar while drummer White evokes his inner Pierre van der Linden (of Focus fame), both sounding like that famous Dutch legend on exalted steroids. Fun, fast, slippery, and just plain brilliant. The bass, here played by guest Dale Wiser, is quite simply jaw dropping. "Human Zoo" is a more traditional pop-rock tune, focusing heavily on the sarcastic lyrics that try to settle a score with the human condition. Very well played instrumentally melodic yet acerbic lyrically, just the right dose of spit and venom, a slick guitar solo closes the enclosure's gates. That darn bass fretless bass announces the next vignette,"Llamada a San Cristobal" , a jazzier foray that cajoles and caresses with a wide variety of sounds emanating from the keys and guitars, everything swerving, veering and spinning in a near Canterbury fashion.

The epic "The Unfurling" stretches out over 10 minutes, flexing musical muscle and creative juice and displaying complex subtleties that will keep your ears on edge. The superlative playing is over the top genius, as the band shows an uncanny ability to keep things fascinatingly unpredictable whilst remaining utterly enjoyable, distributing abundant contrasts between shade and shine, tossing jolly frills along the way, such as the surprising piano section that really grabbed my attention. The uncoiling mood is soft one moment and jarring the next, distorted but very strategic, a clear sign of thoughtful dramatis.

Pounding returns on the effusive and belligerent rocker "Freeway", a driving song that I historically often dislike with very few exceptions. Its just not an inspiration for me as 'I'm in Love with my Car' 'Highway to Hell', 'Radar Love' or even 'Born to Be Wild' do not really shake my tree. That being said, the well-oiled bass and revving guitars are ridiculously tasty and chunky. Another bopping rocker, the sneering "Go Champion" sounds like T-Rex on speed, more gothic glam that anything heard recently, a somber vocal part notwithstanding. Fine companion to that other regal "Champion" song, I guess. The finale hits the spot on "Lemongrass and Thyme", a pastoral ditty with acoustic guitar in tow, reverberating keys, drowsy beat and a forlorn piano, with shrouded vocals dripping in whispered melancholia. The stinging electric guitar solo is like Larry Carlton homage.

A very entertaining entry, which I will surely revisit (next long road trip, LOL) as well as a band I intend to discover more releases past and future. Well done.

4 Sanctuaries of Turns

Thanks to evolver for the artist addition. and to kev rowland for the last updates

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